Page:The painters of Florence from the thirteenth to the sixteenth century (1915).djvu/132

104 of the sacrifice. In this Annunciation, Angelico's first version of his favourite subject, the Angel's wings are gold tipped with ruby light, and his robe is a marvel of decorative beauty, studded all over with little tongues of flame, and embroidered with mystic patterns. Like the Camaldoli friar, he had a genuine love of nature, and beyond the graceful columns of the classic portico where Gabriel alights and the startled Virgin drops her book, we see the ripe pomegranates hanging on the trees, and the pinks and roses flowering in the grass, while a view of Lake Thrasymene, as seen from Cortona, is introduced in the Visitation of the predella. Although during these ten years Angelico was away from Florence, and could not profit by the rapid advance that was being daily made by artists in every direction, it is clear that he had already assimilated many of the new ideas of the Quattrocento, and stood in the front rank of living masters.

In 1418, the papal schism was ended by the election of Martin V., and the Dominicans returned to their old home at the foot of the hill of Fiesole. From that time Fra Angelico worked with untiring industry at his art, and painted most of the altar-pieces which have made his name famous for the churches and convents of Florence. A ruined fresco of the Crucifixion and a Madonna, partly restored by Lorenzo di Credi, are the only fragments of his work now to be seen at S. Domenico of Fiesole; but the lovely predella of Christ in Glory formerly attached to this picture, now hangs in the National Gallery, and the Coronation, which hung over a side altar in the convent church, is one of the glories of the Louvre. In this last-named